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The purpose of this study is to investigate the speaking method on death and mourning in the literary works of elegy(哀悼詩) and funeral oration(哀祭文) of Bai Ju Yi. The speaking method on death and mourning can be categorized in three phases. The first phase is to re-consider the life of the deceased, which means immortality in society. He was trying to find the existence value of the deceased. The second phase is the direct expression on grief in plain words, which implies human bond with the deceased. Logical disorder in his works is due to the straightforward expression of emotion. The third phase is the expression of passive nihilism. He was describing the helplessness through pessimistic attitude. This concept originated from the idea of two different ways of life and death(生死異路). In conclusion, the speaking method on the death and mourning through these three phases implied the changed world view. Thus, this research gives a chance to re-evaluate Bai Ju Yi’s literary works.

Poems on Calligraphy, which began to be created in Tang Dynasty, was on track in the middle of Tang Dynasty. However, these calligraphy poems were more actively built and more diverse in Song Dynasty than in the day. Tang Dynasty's calligraphy poems was able to select about 100 numbers throughout Quantangshi(全唐詩, Complete Poetry of the Tang: A Complete Collection of Tang Poems), but Song Dynasty's calligraphy poems could extract about 946 numbers from Quansongshi(全宋詩, Complete Poetry of the Song: A Complete Collection of Song Poems). Therefore, in this paper, I analyzed the characteristics of Song Dynasty's calligraphy poems using these Song Dynasty's calligraphy poems as the primary research subject. Song Dynasty's calligraphy poems are almost 10 times more numerous than Tang Dynasty's calligraphy poems, so the contents covered in the subject were more diverse and rich than Tang Dynasty's calligraphy poems. In this paper, the analysis angle was slightly different from that of previous studies in China, first of all, focus on the title of the poem, and the analysis was conducted focusing on calligraphers, calligraphy, stone inscription and books of rubbings.

This paper examines the meaning of the Diamond Sutra to people since it was introduced to China and translated and disseminated by Gumarajip through the various stories of the Diamond Sutra from the TaiPingGuangJi-Retribution episode. The way of accepting the Diamond Sutra described in these works was also a way of salvation for many people to overcome the limits of life and death. Analyzing these works, we confirmed that the merit of reciting the Diamond Sutra is replacing hidden virtue, which was a means of 'extension of life' in ancient Chinese concepts. Also, in the story preaching that possessing the Diamond Sutra itself is an invaluable merit, regardless of whether the contents are understood or not, we could witness that the religious beliefs of the Chinese people about the Diamond Sutra reached the climax.

Nietzsche was introduced to China as a writer in the early 20th century, and he had a greater influence in the literary world than in the philosophical world. Lu Xun was a pioneer of modern Chinese literature and a crucial figure in the process of Nietzsche's sinicization. He is known as “China's Nietzsche”. In the 1920s, Lu Xun had become the center of the literary world. The canonization of Lu Xun in the literary world and the Sinicization of Nietzsche were a complementary process. At this time, Shen Congwen, another classic writer in the history of modern Chinese literature, appeared in the literary world, but he was only a marginal figure. With the gradual canonization of Shen Congwen, he opened up a new realm of “Lu Xun's Nietzsche” in the second half of the 1920s and deepened Nietzsche's influence in China. It is generally believed that，after 1925, Nietzsche's upsurge in China has ebbed, but from the perspective of Shen Congwen's acceptance of Nietzsche's art and aesthetics, Nietzsche not only did not “ebb” in literary and artistic aesthetics, but was continued and deepened in modern Chinese literature.

Problems that threaten humanity such as resource depletion, environmental pollution, ecosystem destruction, and abnormal climate are occurring simultaneously around the world. Not only that, as the war against the virus is prolonged, people's anxiety about an uncertain future society is increasing. Due to this, the narrative dealing with the oldest future world dystopia imagined by mankind, that is, a dark and imperfect world, is again the subject of discussion. Discussing the dystopian narrative that predicts the future and presents the agenda for the present dilemma is inevitable in the present situation. Thus, this study examines the dystopia world of the Folding Beijing of Hao Jingfang, a Chinese science fiction novel. It won the 2016 Hugo Award for Best Novelette. A ‘Folding Beijing’ that separates space and time using cutting-edge technology is a world where clear inequality is revealed. It is also a world that does not show how the various ethical issues that can be revealed before and after the construction of the ‘Folding Beijing’ are solved in an instant, but can be reminiscent of totalitarianism that controls human thought and actions. This study paid attention to this point and analyzed why the world of Folding Beijing, except for space, has to be dystopia and whether construction of ‘Folding Beijing’ is possible in reality in connection with various phenomena currently revealed in Chinese society.

In the field of study of Chinese literature overseas, Taiwanese literature has been receiving the attention of scholars from the mainland and at home and abroad for its unique cultural connotation and unique aesthetic style. The development of women's novels in Taiwan is as follows: the1950 s was the foundation period of women's literature in Taiwan, most of them came from mainland China, the1960 s was the main part of modern literature wave of women's literature in Taiwan's women's consciousness began in1980 s. Thus, the new feminist literature in Taiwan plays an important role in the history of Taiwan's literary creation. In the late 1980s, Taiwan's socio-economic transformation took place, with Taipei showing a postmodern state of society, and the role of women in society changed accordingly. Women are no longer confined to raising children with their husbands at home, but they are beginning to enter society and work. In 1990, a collection of Zhu Tian's short stories, The End of the Century, was published, which contained 11 works, one of which bears the same name as the book. “Flamboyant at the End of the Century” was selected as one of the top 10 Chinese novels of the 20th century and won the 4th Newman Prize for Chinese Literature in the United States. The novel narrates the romance between Mia, the heroine's professional model, and her lover, Lao Duan. Chu Tien-wen wrote a modern version of a myth, an allegory, a story of two of the most typical professions in a metropolis in Taipei, and a delusional novel explaining the relationship between dress and body, appearance and substance, women and men. The author tries to explore the difference between Zhu and other contemporary writers' writing of women's clothing through textual descriptions of social phenomena. Women in dress are the main points of description in dress culture, and dress is closely connected to women and influences each other. From another point of contact, the author also summarizes the value and significance of Zhu Tianwen's writing by discussing the characteristics of women's clothing, the reasons for women's clothing writing, and the relationship between characters and characters' desire.

This study analyzed the pragmatic meaning of the structure of ‘noun- er(而)-verb’. In this structure, nouns and verbs have the relationship of topic and comment, in which er(而) performs the role of scalar focus particle behind the topic. Nouns in front of the er(而) acts as the extreme value of scalar, which is comprehensive. The structure of ‘noun-er(而)-verb’ can appear in both realistic and non-realistic situations, and has the meaning of concession with the negation of expectation. In other words, since the attributes of the noun component are not consistent with what the speaker expects, twist, contrast, and emphasis are derived. The structure of ‘noun-er(而)-verb’ is the product of subjectification, which reflects the speaker’s evaluation or emotion in a certain situation. Subjectification is connected to the subjectivity in the form of language, while subjectivity is also related to the the attribute of the noun component in front of er(而). The higher the level of sentience in the noun in front of conjunction (而) gets, the higher speaker’s empathy is, compared to the inanimate noun, when human-related animate noun appears. This makes speaker’s evaluation or judgment more distinct than the delivery of objective facts.

This study first identified the features of Chinese idioms that can only appear in adverbial position and Chinese idioms that can only appear in complement position, and the features of idioms that can appear in both adverbial position and complement position. Based on this, I discussed the formation of typical adverbial idiom constructions and typical complement idiom constructions, also covered the expansion to atypical constructions. Adverbial idiom constructions and complement idiom constructions basically form typical constructions by adopting idioms that match the semantic features of the constructions. Also, the constructions do not stop at forming the typical constructions, but expands to the atypical constructions. In other words, the constructions are expanded by adopting idioms whose lexical features are inconsistent with the features of the constructions, or extending the constructions in a way that do not inherit the prototypical features of the constructions. It can be seen that some idioms can appear in both adverbial and complement positions due to the expansion of constructions.

Drawing on the theoretical framework and methodology of the Moscow Lexical Typology Group (MLexT), this paper examines the usage of the basic meanings of the spatial dimensional adjectives “LONG/SHORT” in thirteen languages. Among the thirteen languages investigated, the basic meanings of “LONG/SHORT” in all Asian and European languages can indicate the distance between any two points in space, including “one-dimensional linear objects”, “two-dimensional flat objects” and “three-dimensional objects with outstanding features”. This reflects the cognitive commonality of different countries from different regions and cultures. The basic meanings are the same in the thirteen languages, reflecting the stability of core vocabulary. However, when “LONG/SHORT” is used to describe a “three-dimensional object with an outstanding height”, there are differences among the thirteen languages. In Asian languages, “LONG/ SHORT” cannot describe “stature” except for Mongolian and Indonesian. In Indonesian, only “SHORT” can be used to describe “stature”, while in Mongolian, both “LONG/SHORT” can be used to describe it. Except for English, almost all European languages can use “LONG/SHORT” to describe “stature”. In English, only “SHORT” can be used to describe “stature”. We have thereby demonstrated cross-linguistic semantic commonalities and verified the feasibility and applicability of the MLexT theory in lexical typology. Meanwhile, the differences between different languages in different regions and the same region also reveal the differences in the socio-cultural context of human cognition.

In this paper, we tried to investigate the images on owl in ancient China through the examination of literature and language as well as by way of the study of unearthed wares. For the Neolithic period and the Shang dynasty, when the documents did not exist or were rare, we followed the owl image by way of wares unearthed, and for the West Zhou and subsequent era we examined the literature and the language. For the study, we have added a short introduction on owls and its appearance in human history.

This paper focuses on Ye Shengtao as the whole of Chinese language education, out of the scope of research mainly focusing on the literary works of Ye Shengtao in Korea, and how it was developed focusing on the ‘reading theory’ of Ye Shengtao for the modernization of language education. The contents were discussed through the analysis of a large amount of primary data. For more than 70 years, Ye Shengtao has been directly at the forefront of the modernization of language education, focusing on cultivating citizens with a sense of citizenship and improving national knowledge in line with the actual development of Chinese language education. In addition, by combining the characteristics of Chinese language education according to the circumstances and needs of the times, a rich and systematic theory of language education was formed. Ye Shengtao's philosophy of language education is indeed a vision and plan that is more than 100 years ahead, and has had a great influence on Chinese language education in the last century and made a great trajectory in its development. The core and center of Ye Shengtao's philosophy of language education can be summarized as ‘Reading is the basics of writing’. This ‘reading theory’, which overturns the perception of everyone at the time of writing-oriented, systematically promotes self-directed learning, fosters good study habits, solves self-problems, teachers, students, and students' learning and self-development, school education and lifelong learning. unfolded and proceeded. And, using ‘Reading Theory’ as the basis for the ideology and theory of language education, it was concretely projected into the overall system related to practice. This paper directly confirmed his other achievements while analyzing ‘Reading Theory’. It broke away from the existing ‘teacher-centered’ and changed to ‘student-centered’, and changed it to a ‘skill-focused’ study that is necessary and can be immediately applied and utilized in society. He presented and discussed in-depth views in various aspects such as the name, nature, educational goals and objectives of subjects, and learning methods, and further developed and consolidated his own ideas of language education.